West Coast most often refers to coastline which is on the western side of a particular area. Many other terms refer to this initial meaning. Some of these things include:

Geography[link]

Australia[link]

• West coast of Australia as a synonym for the state of Western Australia
• West Coast, Tasmania in Australia

Canada[link]

• In Canada, "West Coast" is a reference to the British Columbia Coast and also to the culture and lifestyle of Vancouver, Victoria and area. Within British Columbia itself, the term may mean either the outer coast of Vancouver Island or the common geographic identity and culture historically shared with the US states of Washington, Oregon and California, i.e. referring to the West Coast of North America, not just that of Canada.

Malaysia[link]

• West Coast of Peninsular Malaysia

New Zealand[link]

• West Coast Region, South Island
• "West Coast" is also used as a collective term for a group of beaches close to Auckland, including Piha and Muriwai Beach

Singapore[link]

• West Coast, Singapore

South Africa[link]

• West Coast District Municipality, South Africa
• West Coast, Western Cape, South Africa

United States[link]

• West Coast of the United States, sometimes West Coast of North America

Transport[link]

• West Coast Air, a scheduled and charter airline based in Vancouver
• West Coast Choppers, a company selling chopper-style motorcycles
• West Coast Customs, a car remodeling company
• West Coast Express, a commuter railway in British Columbia, Canada.
• West Coast Main Line, a railway route in the United Kingdom
• West Coast Railway Company, a railway spot-hire company and charter train operator based at Carnforth in the United Kingdom
• Florida West Coast Railroad, a railroad running west from Newberry to Trenton

Other[link]

• 1934 West Coast waterfront strike, industrial action in the United States
• West Coast hip hop, a form of hip hop music in the United States that developed and originated in Los Angeles
• West Coaster a person that lives on the West Coast of the United States
• West Coast Avengers, a Marvel Comics superhero team
• West Coast Amusements, a Canadian travelling amusement park company based in Langley, British Columbia
• West Coast Baptist College in Lancaster, California
• West Coast Computer Faire, a former computer industry conference
• West Coast Eagles, an Australian rules football club based in Perth
• West Coast Hotel Co. v. Parrish, a United States Supreme Court ruling upholding minimum wage legislation
• West Coast liberal a pejorative stereotype encountered in American political culture.
• Wellington West Coast and Taranaki Regiment, a Territorial Force unit of the New Zealand Army
• West Coast (TV series), a Canadian variety show television series which debuted on the CTV television network in 1961
• West Coast University, a health-care oriented university in California and Ontario
• West Coast University - Panama, no relation to the Californian institution
• "West Coast," a song by the indie rock band Coconut Records
• "West Coast," an album by Swedish electronic band Studio

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

John Leslie "Wes" Montgomery (March 6, 1923 – June 15, 1968)^[1] was an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino, George Benson, Russell Malone, Emily Remler, Kenny Burrell, Pat Metheny, Steve Howe, and Jimi Hendrix.

Biography[link]

Montgomery was born in Indianapolis, Indiana. According to NPR Jazz Profiles "The Life and Music Of Wes Montgomery," the nickname "Wes" was a child's abbreviation of his middle name, Leslie.^[2] He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. The brothers released a number of albums together as the Montgomery Brothers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning the six string guitar at the relatively late age of 20 by listening to and learning the recordings of his idol, guitarist Charlie Christian, however he had played a four string tenor guitar since age twelve. He was known for his ability to play Christian's solos note for note and was hired by Lionel Hampton for this ability.^[1]

Many fellow jazz guitarists consider Montgomery the greatest influence among modern jazz guitarists. Pat Metheny has praised him greatly, saying "I learned to play listening to Wes Montgomery's Smokin' at the Half Note." In addition, Metheny stated to The New York Times in 2005 that the solo on "If You Could See Me Now," from this album is his favorite of all time. Joe Pass said, "To me, there have been only three real innovators on the guitar—Wes Montgomery, Charlie Christian, and Django Reinhardt," as cited in James Sallis's The Guitar Players and in his Hot Licks instructional video. Kenny Burrell states, "It was an honor that he called me as his second guitarist for a session." In addition, Stevie Ray Vaughan, Eric Johnson, Joe Satriani, Jimi Hendrix, David Becker, Joe Diorio, Steve Lukather and Pat Martino have pointed to him numerous times as a great influence. Lee Ritenour, who recorded the 1992 album Wes Bound named after him, cites him as his most notable influence; he also named his son Wesley.

Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes joined Tal Farlow, Johnny Smith, Jimmy Raney, and Barney Kessell to put guitar on the map as a bebop / post-bop instrument. While these men generally curtailed their own output in the 1960s, Montgomery recorded prolifically during this period, lending guitar to the same tunes contemporaries like John Coltrane and Miles Davis were recording. While many jazz players are regarded as virtuosos, Montgomery had a very wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that learners try to emulate.

Dave Miele and Dan Bielowsky claim, "Wes Montgomery was certainly one of the most influential and most musical guitarists to ever pick up the instrument... He took the use of octaves and chord melodies to a greater level than any other guitarist, before or since... Montgomery is undoubtedly one of the most important voices in Jazz guitar that has ever lived-or most likely ever will live. A discussion of Jazz guitar is simply not thorough if it does not touch upon Wes Montgomery."^[3]

"Listening to [Wes Montgomery's] solos is like teetering at the edge of a brink," composer-conductor Gunther Schuller asserted, as quoted by Jazz & Pop critic Will Smith. "His playing at its peak becomes unbearably exciting, to the point where one feels unable to muster sufficient physical endurance to outlast it." Wes received many awards and accolades: Nominated for two Grammy Awards for Bumpin', 1965; received Grammy Award for Goin' Out of My Head as Best Instrumental Jazz Performance by Large Group or Soloist with Large Group, 1966; nominated for Grammy Awards for "Eleanor Rigby" and "Down Here on the Ground", 1968; nominated for Grammy Award for Willow, Weep for Me, 1969. Wes' second album, The Incredible Jazz Guitar of Wes Montgomery, earned him Down Beat magazine's "New Star" award in 1960. In addition, he won the Down Beat Critic's Poll award for best Jazz guitarist in 1960, '61, '62,'63, '66, and 1967.^[4]

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderley later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965–1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

He didn't have very long to live to enjoy his commercial success, however; on June 15, 1968, while at home in Indianapolis, Indiana, U.S., he woke one morning, remarked to his wife that he "Didn't feel very well," and minutes later collapsed, dying of a heart attack within minutes. Montgomery's home town of Indianapolis has named a park in his honor. He is the grandfather of actor Anthony Montgomery.^{[1] [5]}

Technique[link]

According to jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords. He used mostly superimposed triads and arpeggios as the main source for his soloing ideas and sounds.^[1]

The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as "the Naptown Sound". Montgomery was also an excellent "single-line" or "single-note" player, and was very influential in the use of block chords in his solos. His playing on the jazz standard "Lover Man" is an example of his single-note, octave- and block-chord soloing. ("Lover Man" appears on the Fantasy album The Montgomery Brothers.)

Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. Montgomery developed this technique not for technical reasons but for his wife. He worked long hours as a machinist before his career began and practiced late at night while his wife was sleeping. He played with his thumb so that his playing would be softer and not wake her. This technique enabled him to get a mellow, expressive tone from his guitar^{[citation needed]}. George Benson, in the liner notes of the Ultimate Wes Montgomery album, wrote, "Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That's why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do to shock people."

He generally played a Gibson L-5CES guitar. In his later years he played one of two guitars that Gibson custom made for him. In his early years, Montgomery had a tube amp, often a Fender. In his later years, he played a solid state Standel amp with a 15-inch (380 mm) speaker.

Recording career[link]

Montgomery toured with vibraphonist Lionel Hampton's orchestra from July 1948 to January 1950, and can be heard on recordings from this period. Montgomery then returned to Indianapolis and did not record again until December 1957 (save for one session in 1955), when he took part in a session that included his brothers Monk and Buddy, as well as trumpeter Freddie Hubbard, who made his recording debut with Montgomery. Most of the recordings made by Montgomery and his brothers from 1957–1959 were released on the Pacific Jazz label.^[1]

From 1959 Montgomery was signed to the Riverside Records label, and remained there until late 1963, just before the company went bankrupt. The recordings made during this period are widely considered by fans and jazz historians to be Montgomery's best and most influential. Two sessions in January 1960 yielded The Incredible Jazz Guitar of Wes Montgomery, which was recorded as a quartet with pianist Tommy Flanagan, bassist Percy Heath and drummer Albert "Tootie" Heath. The album featured two of Montgomery's most well-known compositions, "Four on Six" and "West Coast Blues."

Almost all of Montgomery's output on Riverside featured the guitarist in a small group setting, usually a trio (and always with his organist from his Indianapolis days, Melvin Rhyne), a quartet, or a quintet, playing a mixture of hard-swinging uptempo jazz numbers and quiet ballads. The lone exception, Fusion, telegraphed his post-Riverside career: it was his first recording with a string ensemble. One of the more memorable sets involved a co-leadership collaboration with vibraphone virtuoso and Modern Jazz Quartet mainstay Milt Jackson, whom producer Orrin Keepnews has said insisted on a collaboration with Montgomery as a condition for signing a solo recording deal with Riverside.

In 1964 Montgomery moved to Verve Records for two years. His stay at Verve yielded a number of albums where he was featured with an orchestra—brass-dominated (Movin' Wes), string-oriented (Bumpin', Tequila), or a mix of both (Goin' Out of My Head, California Dreamin').^[1]

But he never abandoned jazz entirely in the Verve years, whether with a few selections on most of the Verve albums, or by such sets as 1965s Smokin' at the Half Note (showcasing two memorable appearances at the famous New York City club with the Wynton Kelly Trio) or a pair of albums he made with jazz organ titan Jimmy Smith, The Dynamic Duo and Further Adventures of Jimmy and Wes). He continued to play outstanding live jazz guitar, as evidenced by surviving audio and video recordings from his 1965 tour of Europe.

As a considered founder of the smooth jazz school the album Bumpin' (1965) represents a model from which many modern recording are derived: as the liner notes to the CD remaster issue note, after being unable to produce the desired results by the guitarist and orchestra playing together, arranger Don Sebesky suggested Montgomery record the chosen music with his chosen small group, after which Sebesky would write the orchestral charts based on what Montgomery's group had produced. Longer clips from all of the tracks on Bumpin' and other Wes Montgomery albums are found on Verve Records website.

By the time Montgomery released his first album for A&M Records, he had seemingly abandoned jazz entirely for the more lucrative pop market, though as in his Verve period he played his customary jazz in small group settings in live appearances. The three albums released during his A&M period (1967–68) feature orchestral renditions of famous pop songs ("Scarborough Fair", "I Say a Little Prayer", "Eleanor Rigby", etc.) with Montgomery reciting the melody with his guitar. These records were the most commercially successful of his career, but featured the least jazz improvisation.^{[citation needed]}

Wes and Buddy, along with Richard Crabtree and Benny Barth, formed "The Mastersounds", and recorded "Jazz Showcase Introducing The Mastersounds" and a jazz version of "The King and I", both released by World Pacific Records. They first played together at Seattle, particularly working up the set for "The King and I", at a club called Dave's Fifth Avenue. The composers were so impressed by the jazz version of "The King & I" that they pre-released the score of "Flower Drum Song" to the quartet to allow simultaneous release with the sound track album.

Discography[link]

	Wes Montgomery "Tear It Down" (1965) noicon Sample from Wes Montgomery's "Tear It Down," from the album Bumpin'
Problems listening to this file? See media help.

Riverside (1958–1964)[link]

Wes' recordings for Riverside/Milestone Records, including those made with The Montgomery Brothers are on the 12CD Box The Complete Riverside Recordings.^[6]

• 1958: Fingerpickin'
• 1958: Far Wes
• 1959: The Wes Montgomery Trio
• 1959: Yesterdays
• 1959: Pretty Blue
• 1960: The Incredible Jazz Guitar of Wes Montgomery
• 1960: Cannonball Adderley and the Poll-Winners
• 1960: Movin' Along
• 1961: So Much Guitar
• 1961: Wes and Friends
• 1961: Bags Meets Wes! (with Milt Jackson)
• 1962: Full House
• 1963: Fusion!: Wes Montgomery with Strings (strings arranged by Jimmy Jones)
• 1963: Boss Guitar
• 1963: Portrait of Wes
• 1963: Guitar on the Go
• 1963: The Alternative Wes Montgomery (alternate takes for previously issued albums)
• 1964: Panorama (Produced by Orrin Keepnews)

Verve (1964–1966)[link]

• 1964: Movin' Wes
• 1965: Bumpin' (arranged and conducted by Don Sebesky)
• 1965: Smokin' at the Half Note
• 1965: Goin' Out of My Head (arranged and conducted by Oliver Nelson)
• 1966: California Dreaming (arranged and conducted by Don Sebesky)
• 1966: Further Adventures of Jimmy and Wes (with Jimmy Smith)
• 1966: Tequila (arranged and conducted by Claus Ogerman)
• 1966: Jimmy & Wes: The Dynamic Duo (with Jimmy Smith)
• 1969: Willow Weep for Me (unused takes from the Smokin' at the Half Note session; overdubbed woodwinds and brass arranged and conducted by Claus Ogerman)
• 1970: Eulogy

A&M (1967–1968)[link]

• 1967: A Day in the Life (arranged and conducted by Don Sebesky) (A&M Records/CTI Records)
• 1968: Down Here on the Ground (arranged and conducted by Don Sebesky) (A&M/CTI)
• 1968: Road Song (arranged and conducted by Don Sebesky) (A&M/CTI)

As sideman[link]

• 1960: Cannonball Adderley and the Poll Winners (leader: Cannonball Adderley)
• 1960: West Coast Blues! (leader: Harold Land)
• 1960: Work Song (leader: Nat Adderley)

References[link]

External links[link]

• Official Wes Montgomery site
• "Wes Montgomery Unedited" by Jim Ferguson, compiled from his Guitar Player Magazine article on Wes Montgomery (August 1993), his JazzTimes article "The Genius Of Wes Montgomery" (August 1995), and his essay in his liner notes to Wes Montgomery—The Complete Riverside Recordings (1992).
• Wes Montgomery discography
• GP2 – Guitar Player Magazine Interview – June 1973
• Wes Montgomery guitar tabs
• Wes Montgomery Park (Indianapolis)
• Biography and tribute by grandson Anthony Montgomery
• Find-A-Grave profile for Wes Montgomery

Chelsea Chanel Dudley (born September 1, 1988), better known by her stage name Chanel West Coast, is an American rapper and television personality. She came to prominence for her roles in MTV's Rob Dyrdek's Fantasy Factory and Ridiculousness.^[1][2]

Career[link]

2009-present: Television[link]

Dudley appears in MTV's Rob Dyrdek's Fantasy Factory, working for Dyrdek as a receptionist and secretary; she started working at the Fantasy Factory after meeting Rob Dyrdek indirectly through MySpace, later auditioning for the part. She was added as one of the series' main cast members in the first season.

Dudley also co-hosts MTV’s Ridiculousness and plays the voice of the character Flipz in the animated series Wild Grinders.

2011-present: Music[link]

In early 2010, she collaborated with rapper Somaya Reece on the single "Tramp". In early 2011, Polow Da Don signed her to his label, Zone 4. She is currently writing and recording songs in the studio for her debut mix tape and album, and also performs at nightclubs and venues in the United States.^[3] Dudley appeared in Planet Hollywood's song "PHAMOUS" where she collaborated with Midi Mafia.

Dudley was featured in the October 2010 edition of Maxim magazine. The photo shoot took place at Rob Dyrdek's Fantasy Factory.^[4]

Filmography[link]

References[link]

External links[link]

• Official website
• Chanel West Coast at the Internet Movie Database

This article needs additional or more specific categories. Please help out by adding categories to it so that it can be listed with similar articles. (December 2011)

Kendrick Lamar Duckworth^[1] (born June 17, 1987), simply known as Kendrick Lamar, is an American rapper and songwriter from Compton, California currently signed to Top Dawg, Aftermath and Interscope. He first gained major attention after the release of his 2010 mixtape Overly Dedicated. In 2011, his album Section.80, released exclusively through iTunes, instantly ranked as one of the top digital hip hop releases of the year.^[2] Lamar has amassed a large internet following, is a member of hip hop collective Black Hippy, along with Jay Rock, Schoolboy Q and Ab-Soul, and has worked with Snoop Dogg, Dr. Dre, Wiz Khalifa, Game, Drake, Busta Rhymes and Tech N9ne among other popular artists.^[3]

Biography[link]

1987-2009: Early life and career beginnings[link]

Kendrick Lamar was born in Compton, California, a community southeast of Los Angeles city limits, to parents from Chicago, Illinois.^[4] At the age of eight, in 1995, Lamar witnessed his idols, Tupac Shakur and Dr. Dre film the music video for their hit single "California Love," a very significant moment in Lamar's life.^[5] In 2003 at the young age of sixteen, Lamar released his first mixtape, Youngest Head Nigga In Charge under the name K. Dot.^[6] The mixtape was able to garner enough attention for Lamar to get a record deal with Top Dawg Entertainment, a Los Angeles-based independent record label.^[6] He then released a twenty-six track mixtape two years later titled Training Day.^[7] More recognition came Lamar's way after a video of a Charles Hamilton show surfaced, where Hamilton goes in the crowd and battles rappers at attendance. Lamar didn't hesitate and began rapping a verse over Milkbone's "Keep It Real", that would later appear on a track titled "West Coast Wu-Tang".^[5] In 2008 Lamar made a cameo appearance on Jay Rock's "All My Life (In the Ghetto)" music video. After receiving a co-sign from Lil Wayne, he released his third mixtape in 2009 titled C4, heavily themed around Tha Carter III LP.^[8] Soon after, he decided to drop his stage name K. Dot and go by his real name. This resulted in him releasing a self-titled EP; the Kendrick Lamar EP in late 2009.^[9]

[edit] 2010–2011: Overly Dedicated and Section.80

Kendrick performing at a concert in Toronto, Canada

In 2010 he toured with Tech N9ne and Jay Rock on The Independent Grind tour.^[6] On September 23, 2010 he released O(verly) D(edicated) a highly acclaimed mixtape that included a song titled "Ignorance is Bliss" in which he glorifies gangsta rap and street crime but ends each verse with "ignorance is bliss" giving the message "we know not what we do".^[10][11] It was that song specifically that made hip hop producer Dr. Dre want to work with Lamar.^[12] This led to him working with Dre and Snoop Dogg on Dre's Detox album and him considering signing to Aftermath Entertainment.^[6][13] In January 2011 Lamar said his debut album was 90% finished.^[6]

In early 2011 Lamar was featured on XXL Magazine's 2011 Freshman cover along with CyHi the Prynce, Meek Mill, Mac Miller, Yelawolf, Lil B, Big K.R.I.T. and Diggy Simmons among others.^[14] On July 2, 2011, Lamar released his third solo project Section.80 to critical acclaim. It features guest appearances from GLC, Colin Munroe, Schoolboy Q, Ab-Soul and includes production from longtime collaborator Sounwave, Wyldfyer, Terrace Martin, J. Cole and more. On the topic of whether Section.80 would be an album or a mixtape Lamar said "I treat every project like it’s an album anyway. It’s not gonna be nothing leftover. I never do nothing like that. These are my leftover songs y’all can have ‘em, nah. I’m gonna put my best out. My best effort. I’m tryna look for an album in 2012". The first single for Section.80 was the J. Cole produced track "HiiiPower", of which the concept was to further explain the HiiiPower movement. Section.80 went on to sell over 10,000 copies in its first week^[15] without any television or radio coverage and received many very positive reviews. In the second half of 2011, Lamar appeared on Game's The R.E.D. Album, Tech N9ne's All 6's and 7's, 9th Wonder's The Wonder Years and Drake's Take Care.

In August 2011, while onstage with Snoop Dogg, Dr. Dre and Game, at the West Los Angeles concert, the three of them crowned him the "New King of the West Coast"^[16]

[edit] 2012–present: Good Kid in a Mad City

On February 15, 2012, a song titled "Cartoons & Cereal" featuring Gunplay of Triple C's was leaked.^[17] Lamar revealed later that the track was for his upcoming album and he was planning to shoot a video for it.^[18]

In March 2012, MTV announced that Top Dawg Entertainment, the independent record label Lamar is signed to, have closed a joint venture deal with Interscope Records and Aftermath Entertainment, marking the end of his career as an independent artist. Under the new deal, Kendrick Lamar’s projects, including his upcoming debut studio album Good Kid in a Mad City will be jointly released via Top Dawg, Aftermath and Interscope, while releases from the rest of Black Hippy will be distributed via Top Dawg and Interscope.^[19]

Lamar premiered "The Recipe", his debut single and the lead single from Good Kid in a Mad City, at Power 106 on April 2, 2012. The track was released for digital download the following day. The song was produced by Scoop DeVille and features Dr. Dre.^{[citation needed]}

It was announced on May 14, 2012, that Lamar is working on a collaborative album with J. Cole. In an interview with Bootleg Kev, Cole stated that "I just started working with Kendrick the other day. We got it in, finally, again. We got maybe four or five [songs] together."

Personal life[link]

In high school, Centennial in Compton, Lamar was a good student.^[4] Lamar said that he has seen relatives who have died in his dreams for years. Tupac Shakur is also his favorite rapper, and influences not only his music, but his day-to-day lifestyle as well. In terms of subject matter, Kendrick Lamar has often been compared to Tupac Shakur. ^[6][20][21] He revealed that his favorite and most influential rappers are Tupac Shakur, The Notorious B.I.G., Nas, Jay-Z and his label-mate Eminem.

Discography[link]

• Section.80 (2011)
• Good Kid in a Mad City (2012)

References[link]

External links[link]

• Kendrick Lamar on Twitter
• kedricklamar.com Official Site

E40 may refer to:

• European route E40, a road extending from France to Kazakhstan
• E-40, a rapper
• GE E40, a locomotive
• a name for the fuel blend of 40% ethanol and 60% gasoline
• E40 screw, a type of Edison screw
• HMS E40, a British E class submarine

This disambiguation page lists articles associated with the same title formed as a letter-number combination. If an internal link led you here, you may wish to change the link to point directly to the intended article.